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| Larry Rivers Portrait of Frank O'Hara 1952 oil on linen Whitney Museum of American Art, New York |
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| Larry Rivers Berdie in a Red Shawl 1953 oil on linen Whitney Museum of American Art, New York |
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| Larry Rivers Berdie Seated, Clothed 1953 bronze Whitney Museum of American Art, New York |
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| Larry Rivers O'Hara 1954 drawing Walker Art Center, Minneapolis |
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| Larry Rivers Still Life with Grapefruit and Seltzer Bottle 1954 oil on canvas Whitney Museum of American Art, New York |
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| Larry Rivers Double Portrait of Berdie 1955 oil on linen Whitney Museum of American Art, New York |
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| Larry Rivers Berdie in Blue Tea Towel 1955 oil on canvas Loeb Art Center, Vassar College, Poughkeepsie, New York |
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| Larry Rivers The Studio 1956 oil on canvas Minneapolis Institute of Art |
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| Larry Rivers The Athlete's Dream 1956 oil on canvas Smithsonian American Art Museum, Washington DC |
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| Larry Rivers Washington Crossing the Delaware 1960 oil on linen Whitney Museum of American Art, New York |
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| Larry Rivers Portrait of Sunny Norman: Parts of the Face 1963 oil on canvas New Orleans Museum of Art |
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| Larry Rivers Identification Manual 1964 mixed media and collage on board Smithsonian American Art Museum, Washington DC |
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| Larry Rivers 100-Franc Note 1965 graphite and crayon on paper Walker Art Center, Minneapolis |
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| Larry Rivers French Money 1965 screenprint and collage on plexiglas Smithsonian American Art Museum, Washington DC |
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| Larry Rivers Stravinsky II 1966 lithograph Whitney Museum of American Art, New York |
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| Gerard Malanga Larry Rivers ca. 1971 gelatin silver print National Gallery of Australia, Canberra |
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| Larry Rivers Untitled 1973 lithograph and screenprint Smithsonian American Art Museum, Washington DC |
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| Arnold Newman Larry Rivers 1975 gelatin silver print San Diego Museum of Art |
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| Larry Rivers Public and Private 1983-84 oil on paper, mounted on foamcore National Gallery of Australia, Canberra |
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| Timothy Greenfield-Sanders Larry Rivers 1981 gelatin silver print Whitney Museum of American Art, New York |
Pastoral
The sun rises over the mountain.
Sometimes there's mist
but the sun's behind it always
and the mist isn't equal to it.
The sun burns its way through,
like the mind defeating stupidity.
When the mist clears, you see the meadow.
No one really understands
the savagery of this place,
the way it kills people for no reason,
just to keep in practice.
So people flee – and for a while, away from here,
they're exuberant, surrounded by so many choices –
But no signal from earth
will ever reach the sun. Thrash
against that fact, you are lost.
When they come back, they're worse.
They think they failed in the city,
not that the city doesn't make good its promises.
They blame their upbringing: youth ended and they're back,
silent, like their fathers.
Sundays, in summer, they lean against the wall of the clinic,
smoking cigarettes. When they remember,
they pick flowers for their girlfriends –
It makes the girls happy.
They think it's pretty here, but they miss the city, the afternoons
filled with shopping and talking, what you do
when you have no money . . .
To my mind, you're better off if you stay;
that way, dreams don't damage you.
At dusk, you sit by the window. Wherever you live,
you can see the fields, the river, realities
on which you cannot impose yourself –
To me, it's safe. The sun rises, the mist
dissipates to reveal
the immense mountain. You can see the peak,
how white it is, even in summer. And the sky's so blue,
punctuated with small pines
like spears –
When you got tired of walking
you lay down in the grass.
When you got up again, you could see for a moment where you'd been,
the grass was slick there, flattened out
into the shape of the body. When you looked back later,
it was as though you'd never been there at all.
Midafternoon, midsummer. The fields go on forever,
peaceful, beautiful.
Like butterflies with their black markings,
the poppies open.
– Louise Glück (2009)